Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Nigeria and from Edmonton.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1968 to 1974.
I'm losing my edge.
To all the kids in Tokyo and Bremen.
I'm losing my edge to the art-school Beijing kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the güiro sounds with much patience.
I was there when Robert Palmer started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Shoche to the dance kids.
I played it at the 40 Watt.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Brick. All the underground hits.
All Tomorrow tracks. I heard you have a vinyl of every The Sisters of Mercy record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Kauko Röyhkä ja Narttu record.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Faraquet,
Sad Lovers and Giants,
The Alarm Clocks,
Letta Mbulu,
The Mummies,
Technova,
the Normal,
the Germs,
Nik Kershaw,
Joy Division,
Ultimate Spinach,
The Fall,
ABBA,
Eden Ahbez,
Gregory Isaacs,
X-102,
Traffic Nightmare,
Altered Images,
Flipper,
Joey Negro,
The Residents,
The Birthday Party,
Monks,
Ohio Players,
Lebanon Hanover,
A Certain Ratio,
Lower 48,
Kevin Saunderson,
F. McDonald,
Althea and Donna,
The Velvet Underground,
The Trojans,
Marmalade,
Lou Reed,
The Beau Brummels,
Roger Hodgson,
Gichy Dan,
Excepter,
The Barracudas,
Country Joe & The Fish,
New York Dolls,
Sandy B,
Thinking Fellers Union Local 282,
Be Bop Deluxe,
Avey Tare,
Black Flag,
The Cosmic Jokers,
Mark Hollis,
Sunsets and Hearts,
Aswad,
Pulsallama,
Gong,
Stiv Bators,
Surgeon,
Icehouse,
Robert Wyatt,
Iggy Pop,
Outsiders,
Public Image Ltd.,
John Foxx,
Supertramp,
Wally Richardson,
Pierre Henry,
Alison Limerick,
Bootsy Collins, Bootsy Collins, Bootsy Collins, Bootsy Collins.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.